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Writer's pictureIlona Oltuski

Orpheus’ Musical Chairs, Mozart, and violin icon Maxim Vengerov

If Orpheus’ powerful sound is defined by the palpable musical relationship between each of its orchestral members, one can only imagine how this particular energy inspires their soloist and, in turn, the audience. Mozart's collective work of violin concerti provides ample opportunity for a musical match made in heaven for tonight's second kick-off performance of Maxim Vengerov's intense 12 events Carnegie Hall Perspective series. Vengerov has recently been lauded by British music critic Jessica Duchen for his "communicative, colorful, and technically near-miraculous playing..."


Today, November 7th, 8 PM, Carnegie Hall Stern Auditorium / Perelman Stage


At tonight’s Carnegie all-Mozart violin concerti performance, the iconic Maxim Vengerov, who has earned multiple Grammy and Gramophone Artist of the Year awards throughout the years, completes the second round of concerti with Violin Concerto No.2 and No.5 ( also coined the Turkish one) and perhaps the pinnacle of Mozart’s violin concerti, the gorgeous Sinfonia concertante in E-flat Major.


(Maxim Vengerov, Photo Credit: Davide Cerati)


In a cross between the concerto form (with one soloist) and the symphonic, the work offers soloists’ parts for both the violin and the viola, for which the acclaimed and vibrant violist/violinist Lawrence Power will join the eminent Vengerov.



Lawrence Power, Photo Credit: Jack Liebeck


Orpheus' conductor-less concept is ample proof that what may have been a revolutionary idea of taking a historically hierarchical structure and regulating it by entirely democratic means can work very well during the institution’s now thirty years of long-lasting operation. The Benefit—alongside taking some calculated risks and challenges—lies in providing its musicians with more self-determination and, therefore, higher performance satisfaction.



Orpheus, Photo Credit: Neda_Navaee



So don’t be surprised if you see additional shifting within the ensemble on stage. While seats in most major orchestras remain a closely guarded equity and are rarely changed, Orpheus musicians constantly swap parts and responsibilities.


That keeps things fresh, of course, even possibly during the same evening’s performance,  when someone might be a violinist in the first chair for the first piece of a concert but will play the part in the second chair for the second piece.





Perhaps the perfect after-election music performance that brings timeless beauty and our hopes for democracy to the forefront of invigorated music-making. Vengerov’s complete Mozart concerti with Orpheus also marks the beginning of his Perspective series at Carnegie Hall, which will see him partner up with artists such as Evgeny Kissin, Yefim Bronfman, and Martha Argerich and end with all Beethoven violin concerti in 2027.

 

 

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